Ibels’ images were powerful and heavily graphic, in keeping with the movement that was a generous admixture of fine art, graphic design and advertising, as seen in the lithographs and posters for theater, cabaret, and book illustration.

1.
France
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France, officially the French Republic, is a country with territory in western Europe and several overseas regions and territories. The European, or metropolitan, area of France extends from the Mediterranean Sea to the English Channel and the North Sea, Overseas France include French Guiana on the South American continent and several island territories in the Atlantic, Pacific and Indian oceans. France spans 643,801 square kilometres and had a population of almost 67 million people as of January 2017. It is a unitary republic with the capital in Paris. Other major urban centres include Marseille, Lyon, Lille, Nice, Toulouse, during the Iron Age, what is now metropolitan France was inhabited by the Gauls, a Celtic people. The area was annexed in 51 BC by Rome, which held Gaul until 486, France emerged as a major European power in the Late Middle Ages, with its victory in the Hundred Years War strengthening state-building and political centralisation. During the Renaissance, French culture flourished and a colonial empire was established. The 16th century was dominated by civil wars between Catholics and Protestants. France became Europes dominant cultural, political, and military power under Louis XIV, in the 19th century Napoleon took power and established the First French Empire, whose subsequent Napoleonic Wars shaped the course of continental Europe. Following the collapse of the Empire, France endured a succession of governments culminating with the establishment of the French Third Republic in 1870. Following liberation in 1944, a Fourth Republic was established and later dissolved in the course of the Algerian War, the Fifth Republic, led by Charles de Gaulle, was formed in 1958 and remains to this day. Algeria and nearly all the colonies became independent in the 1960s with minimal controversy and typically retained close economic. France has long been a centre of art, science. It hosts Europes fourth-largest number of cultural UNESCO World Heritage Sites and receives around 83 million foreign tourists annually, France is a developed country with the worlds sixth-largest economy by nominal GDP and ninth-largest by purchasing power parity. In terms of household wealth, it ranks fourth in the world. France performs well in international rankings of education, health care, life expectancy, France remains a great power in the world, being one of the five permanent members of the United Nations Security Council with the power to veto and an official nuclear-weapon state. It is a member state of the European Union and the Eurozone. It is also a member of the Group of 7, North Atlantic Treaty Organization, Organisation for Economic Co-operation and Development, the World Trade Organization, originally applied to the whole Frankish Empire, the name France comes from the Latin Francia, or country of the Franks

2.
Henri de Toulouse-Lautrec
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Toulouse-Lautrec is among the best-known painters of the Post-Impressionist period, with Cézanne, Van Gogh and Gauguin. In a 2005 auction at Christies auction house, La Blanchisseuse, his painting of a young laundress, sold for US$22.4 million. The last part of his name means he was a member of an aristocratic family and his younger brother was born in 1867, but died the following year. After the death of his brother, Henris parents separated and a nanny ended up taking care of him, at the age of eight, Henri went to live with his mother in Paris where he drew sketches and caricatures in his exercise workbooks. The family quickly realised that Henris talents lay in drawing and painting, a friend of his father, René Princeteau, visited sometimes to give informal lessons. Some of Henris early paintings are of horses, a speciality of Princeteau, in 1875, Toulouse-Lautrec returned to Albi because his mother had concerns about his health. He took thermal baths at Amélie-les-Bains and his mother consulted doctors in the hope of finding a way to improve her sons growth, Toulouse-Lautrecs parents, the Comte and Comtesse, were first cousins, and he suffered from congenital health conditions sometimes attributed to a family history of inbreeding. At age 13, Toulouse-Lautrec fractured his right femur, at age 14, he fractured his left. The breaks did not heal properly, modern physicians attribute this to an unknown genetic disorder, possibly pycnodysostosis, or a variant disorder along the lines of osteopetrosis, achondroplasia, or osteogenesis imperfecta. Rickets aggravated by praecox virilism has also been suggested, afterwards, his legs ceased to grow, so that as an adult he was extremely short. He developed an adult-sized torso, while retaining his child-sized legs, additionally, he is reported to have had hypertrophied genitals. Physically unable to participate in many activities enjoyed by males his age and he became an important Post-Impressionist painter, art nouveau illustrator, and lithographer, and, through his works, recorded many details of the late-19th-century bohemian lifestyle in Paris. Toulouse-Lautrec contributed a number of illustrations to the magazine Le Rire during the mid-1890s, after initially failing college entrance exams, he passed his second attempt and completed his studies. Toulouse-Lautrecs mother had high ambitions and, with the aim of her son becoming a fashionable and respected painter and he was drawn to Montmartre, the area of Paris famous for its bohemian lifestyle and the haunt of artists, writers, and philosophers. Studying with Bonnat placed Toulouse-Lautrec in the heart of Montmartre, an area he rarely left over the next 20 years. After Bonnat took a new job, Toulouse-Lautrec moved to the studio of Fernand Cormon in 1882 and studied for a five years. At this time he met Émile Bernard and Vincent van Gogh, Cormon, whose instruction was more relaxed than Bonnats, allowed his pupils to roam Paris, looking for subjects to paint. During this period, Toulouse-Lautrec had his first encounter with a prostitute, which led him to paint his first painting of a prostitute in Montmartre, a woman rumoured to be Marie-Charlet

3.
Paris
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Paris is the capital and most populous city of France. It has an area of 105 square kilometres and a population of 2,229,621 in 2013 within its administrative limits, the agglomeration has grown well beyond the citys administrative limits. By the 17th century, Paris was one of Europes major centres of finance, commerce, fashion, science, and the arts, and it retains that position still today. The aire urbaine de Paris, a measure of area, spans most of the Île-de-France region and has a population of 12,405,426. It is therefore the second largest metropolitan area in the European Union after London, the Metropole of Grand Paris was created in 2016, combining the commune and its nearest suburbs into a single area for economic and environmental co-operation. Grand Paris covers 814 square kilometres and has a population of 7 million persons, the Paris Region had a GDP of €624 billion in 2012, accounting for 30.0 percent of the GDP of France and ranking it as one of the wealthiest regions in Europe. The city is also a rail, highway, and air-transport hub served by two international airports, Paris-Charles de Gaulle and Paris-Orly. Opened in 1900, the subway system, the Paris Métro. It is the second busiest metro system in Europe after Moscow Metro, notably, Paris Gare du Nord is the busiest railway station in the world outside of Japan, with 262 millions passengers in 2015. In 2015, Paris received 22.2 million visitors, making it one of the top tourist destinations. The association football club Paris Saint-Germain and the rugby union club Stade Français are based in Paris, the 80, 000-seat Stade de France, built for the 1998 FIFA World Cup, is located just north of Paris in the neighbouring commune of Saint-Denis. Paris hosts the annual French Open Grand Slam tennis tournament on the red clay of Roland Garros, Paris hosted the 1900 and 1924 Summer Olympics and is bidding to host the 2024 Summer Olympics. The name Paris is derived from its inhabitants, the Celtic Parisii tribe. Thus, though written the same, the name is not related to the Paris of Greek mythology. In the 1860s, the boulevards and streets of Paris were illuminated by 56,000 gas lamps, since the late 19th century, Paris has also been known as Panam in French slang. Inhabitants are known in English as Parisians and in French as Parisiens and they are also pejoratively called Parigots. The Parisii, a sub-tribe of the Celtic Senones, inhabited the Paris area from around the middle of the 3rd century BC. One of the areas major north-south trade routes crossed the Seine on the île de la Cité, this place of land and water trade routes gradually became a town

4.
Pierre Bonnard
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Pierre Bonnard was a French painter and printmaker, as well as a founding member of the Post-Impressionist group of avant-garde painters Les Nabis. Bonnard preferred to work from memory, using drawings as a reference, the intimate domestic scenes, for which he is perhaps best known, often include his wife Marthe de Meligny. Identified as a practitioner of Impressionism in the early 20th century, Bonnard has since been recognized for his unique use of color. Bonnard was born in Fontenay-aux-Roses, Hauts-de-Seine on 3 October 1867 and he led a happy and carefree youth as the son of a prominent official of the French Ministry of War. He studied classics during his baccalaureate, at the insistence of his father, Bonnard studied law, graduating and briefly practicing as a barrister in 1888. However, he had attended art classes at Ecole des Beaux-Arts and Académie Julian. His earlier work such as Woman in Checkered Dress shows the influence of Japanese prints, in 1891, he met Toulouse-Lautrec and began showing his work at the annual exhibition of the Société des Artistes Indépendants. In the same year Bonnard also began an association with La Revue Blanche, for which he, Bonnards talent was appreciated early in his career, Claude Roger-Marx remarked in 1893 that he catches fleeting poses, steals unconscious gestures, crystallises the most transient expressions. His first show was at the Galerie Durand-Ruel in 1896, in his twenties Bonnard was a part of Les Nabis, a group of young artists committed to creating work of symbolic and spiritual nature. Other Nabis include Vuillard and Maurice Denis, in addition to his paintings, he also became known for his posters and book illustrations, as well as for his prints and theater set designs. He left Paris in 1910 for the south of France, Bonnard was described, by his own friend and historians, as a man of quiet temperament and one who was unobtrusively independent. His life was free from the tensions and reversals of untoward circumstance. It has been suggested that, Like Daumier, whose life knew little serenity, Bonnard is known for his intense use of color, especially via areas built with small brush marks and close values. His often complex compositions—typically of sunlit interiors and gardens populated with friends, Bonnards fondness for depicting intimate scenes of everyday life, has led to him being called an Intimist, his wife Marthe was an ever-present subject over the course of several decades. She is seen seated at the table, with the remnants of a meal, or nude. He also painted several self-portraits, landscapes, street scenes, and many still lifes, Bonnard did not paint from life but rather drew his subject—sometimes photographing it as well—and made notes on the colors. He then painted the canvas in his studio from his notes, I have all my subjects to hand, he said, I go back and look at them. And before I start painting I reflect, I dream and he worked on numerous canvases simultaneously, which he tacked onto the walls of his small studio

5.
Les Nabis
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Les Nabis were a group of Post-Impressionist avant-garde artists who set the pace for fine arts and graphic arts in France in the 1890s. Initially a group of friends interested in art and literature. In 1890, they began to participate successfully in public exhibitions, meanwhile, most members of the group—Maurice Denis, Pierre Bonnard, Édouard Vuillard—could stand, artistically, on their own. Only Paul Sérusier had problems to overcome—though it was his Talisman, painted at the advice of Paul Gauguin, nabi means prophet in Hebrew and in Arabic. Les Nabis originated as a group of young student artists who banded together at the Académie Julian. Paul Sérusier galvanized Les Nabis, and provided the name and disseminated the example of Paul Gauguin among them, Pierre Bonnard, Édouard Vuillard and Maurice Denis became the best known of the group, at the time, however, they were somewhat peripheral to the core group. The term was coined by the linguist Auguste Cazalis who drew a parallel between the way these painters aimed to revitalize painting and the way the ancient prophets had rejuvenated Israel, possibly the nickname arose because most of them wore beards, some were Jews and all were desperately earnest. Les Nabis regarded themselves as initiates, and used a private vocabulary and they called a studio ergasterium, and ended their letters with the initials E. T. P. M. V. Et M. P. Bonnards posters and lithographs are more firmly in the Art Nouveau, after the turn of the century, as modern art moved towards Abstraction, Expressionism, Cubism, etc. In their later years, these painters also largely abandoned their earlier interests in Decorative and his Théories summed up the Nabis aims long after they had been superseded by the fauve painters and by cubism. Other Nabis were Pierre Bonnard, Édouard Vuillard, Ker-Xavier Roussel, Paul Ranson, the sculptor Aristide Maillol was associated for a time with the group. The Scot, James Pitcairn-Knowles and the Hungarian, Jozsef Rippl-Ronai, lived together in Paris during the first decade of the 20th century and also turned to glass blowing, the post-Impressionist styles they embraced skirted some aspects of contemporary art nouveau and Symbolism. The influence of the English Arts and Crafts Movement set them to work in media that involved crafts beyond painting, printmaking, book illustration and poster design, textiles, pont-Aven School Henry Lerolle, patron Odilon Redon Boyer, Patricia Eckert. The Nabis and the Parisian Avant-Garde, four French Symbolists, A Sourcebook on Pierre Puvis de Chavannes, Gustave Moreau, Odilon Redon, and Maurice Denis. Les peintres du vingtième siècle, Nabis, Fauves, Cubistes, Nabis, Bonnard, Vuillard and Their Circle. The Prophets of Montmartre Ashe Journal article on Les Nabis by Alamantra, Pierre Bonnard, the Graphic Art, an exhibition catalog from The Metropolitan Museum of Art, which contains material on Bonnard and others in the Les Nabis

6.
Paul Gauguin
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Eugène Henri Paul Gauguin was a French post-Impressionist artist. Underappreciated until after his death, Gauguin is now recognized for his use of color. His work was influential to the French avant-garde and many artists, such as Pablo Picasso. Many of his paintings were in the possession of Russian collector Sergei Shchukin and he was an important figure in the Symbolist movement as a painter, sculptor, printmaker, ceramist, and writer. He was also a proponent of wood engraving and woodcuts as art forms. Gauguin was born in Paris, France to Clovis Gauguin and Alina Maria Chazal on June 7,1848 and his birth coincided with revolutionary upheavals throughout Europe that year. His father, a 34-year-old liberal journalist, came from a family of petit-bourgeoisie entrepreneurs residing in Orléans and he was compelled to flee France when the newspaper for which he wrote was suppressed by French authorities. Gauguins mother, the 22-year-old Aline Marie Chazal, was the daughter of Andre Chazal, an engraver, and Flora Tristan and their union ended when Andre assaulted his wife Flora and was sentenced to prison for attempted murder. Paul Gauguins maternal grandmother, Flora Tristan, was the daughter of Thérèse Laisnay. Details of Thérèses family background are not known, her father, Don Mariano, was a Spanish nobleman, members of the wealthy Tristan Moscoso family held powerful positions in Peru. Nonetheless, Don Marianos unexpected death plunged his mistress and daughter Flora into poverty, when Floras marriage with Andre failed, she petitioned for and obtained a small monetary settlement from her fathers Peruvian relatives. She sailed to Peru in hopes of enlarging her share of the Tristan Moscoso family fortune and this never materialized, but she successfully published a popular travelogue of her experiences in Peru which launched her literary career in 1838. An active supporter of early socialist societies, Gauguins maternal grandmother helped to lay the foundations for the 1848 revolutionary movements, placed under surveillance by French police and suffering from overwork, she died in 1844. Her grandson Paul idolized his grandmother, and kept copies of her books with him to the end of his life. In 1850, Clovis Gauguin departed for Peru with his wife Alina and he died of a heart attack en route, and Alina arrived in Peru a widow with the 18-month-old Paul and his 2 ½ year-old sister, Marie. Gauguins mother was welcomed by her granduncle, whose son-in-law would shortly assume the presidency of Peru. To the age of six, Paul enjoyed an upbringing, attended by nursemaids. He retained a vivid memory of period of his childhood which instilled indelible impressions of Peru that haunted him the rest of his life

7.
Utrillo
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Maurice Utrillo, born Maurice Valadon, was a French painter who specialized in cityscapes. Born in the Montmartre quarter of Paris, France, Utrillo is one of the few painters of Montmartre who was born there. Utrillo was the son of the artist Suzanne Valadon, who was then an eighteen-year-old artists model, in 1891 a Spanish artist, Miguel Utrillo y Molins, signed a legal document acknowledging paternity, although the question remains as to whether he was in fact the childs father. She taught herself to paint, and when Toulouse-Lautrec introduced her to Edgar Degas, eventually she became a peer of the artists she had posed for. Meanwhile, her mother was left to raise the young Maurice, when a mental illness took hold of the 21-year-old Utrillo in 1904, his mother encouraged him to take up painting. He soon showed real artistic talent, with no training beyond what his mother taught him, he drew and painted what he saw in Montmartre. After 1910 his work attracted attention, and by 1920 he was internationally acclaimed. In 1928, the French government awarded him the Cross of the Légion dhonneur, throughout his life, however, he was interned in mental asylums repeatedly. Today, tourists to the area will find many of his paintings on post cards, one of which is his very popular 1936 painting entitled, Montmartre Street Corner or Lapin Agile. In middle age Utrillo became fervently religious and in 1935, at the age of fifty-two, he married Lucie Valore and moved to Le Vesinet, just outside Paris. By that time, he was too ill to work in the air and painted landscapes viewed from windows, from post cards. Although his life also was plagued by alcoholism, he lived into his seventies, Maurice Utrillo died on 5 November 1955 in Hotel Splendid in Dax of a lung disease, and was buried in the Cimetière Saint-Vincent in Montmartre. Renoir looked at the baby and said, He cant be mine, next she went to Degas, for whom she had also modeled. He said, He cant be mine, the form is terrible, at a cafe, Valadon saw an artist she knew named Miguel Utrillo, to whom she spilled her woes. The man told her to call the baby Utrillo, I would be glad to put my name to the work of either Renoir or Degas and this follows the 2009 exhibition of Suzanne Valadon and Maurice Utrillos works held in Paris in 2009. Jean Fabris, Claude Wiart, Alain Buquet, Jean-Pierre Thiollet, Jacques Birr, Catherine Banlin-Lacroix, Joseph Foret, Utrillo, sa vie, son oeuvre, Editions Frédéric Birr, Paris,1982. Longstreet, Stephen and Ethel, Man of Montmartre, A Novel based on the Life of Maurice Utrillo, New York, ISBN 0-517-54499-7 Hecht Museum site of Utrillo Estate ArtCyclopedia - Maurice Utrillo Works by Maurice Utrillo

8.
Vuillard
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Jean-Édouard Vuillard was a French painter and printmaker associated with the Nabis. Jean-Édouard Vuillard, the son of a captain, spent his youth at Cuiseaux. After his fathers death in 1884, Vuillard received a scholarship to continue his education, in the Lycée Condorcet Vuillard met Ker Xavier Roussel, Maurice Denis, musician Pierre Hermant, writer Pierre Véber, and Lugné-Poe. In 1885, Vuillard left the Lycée Condorcet, on the advice of his closest friend, Roussel, he refused a military career and joined Roussel at the studio of painter Diogène Maillart. There, Roussel and Vuillard received the rudiments of artistic training, from 1886 to 1888, he studied at the Académie Julian. In 1887, after three attempts, Vuillard passed the entrance examination for the École des Beaux-Arts. Vuillard kept a journal from 1888–1905 and later from 1907–40. By 1890, the year in which Vuillard met Pierre Bonnard and Paul Sérusier, he had joined the Nabis and he contributed to their exhibitions at the Gallery of Le Barc de Boutteville, and later shared a studio with fellow Nabis Bonnard and Maurice Denis. In the early 1890s, he worked for the Théâtre de lŒuvre of Lugné-Poe designing settings, in 1898 Vuillard visited Venice and Florence. The following year he made a trip to London, later he went to Milan, Venice and Spain. Vuillard also traveled in Brittany and Normandy, Vuillard first exhibited at the Salon des Indépendants of 1901 and at the Salon dAutomne in 1903. In the 1890s Vuillard met the brothers Alexandre and Thadée Natanson, the founders of La Revue Blanche, vuillardʹs graphics appeared in the journal, together with Pierre Bonnard, Henri de Toulouse-Lautrec, Félix Vallotton and others. In 1892, on the advice of the Natanson brothers, Vuillard painted his first decorations for the house of Mme Desmarais, the last commissions he received date to 1937 and 1939. In his paintings and decorative pieces, Vuillard depicted mostly interiors, streets, marked by a gentle humor, they are executed in the delicate range of soft, blurred colors characteristic of his art. Living with his mother, a dressmaker, until the age of sixty, Vuillard was very familiar with interior, much of his art reflected this influence, largely decorative and often depicting very intricate patterns. In 1912, Vuillard painted Théodore Duret in his Study, a portrait that signaled a new phase in Vuillards work. Vuillard died in La Baule in 1940, in 2013 the BBC television program Fake or Fortune. Investigated a painting owned by British scriptwriter Keith Tutt, which both Tutt and the owners, Mr & Mrs Warren, believed to be a Vuillard

9.
Maurice Denis
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Maurice Denis was a French painter and writer, and a member of the Symbolist and Les Nabis movements. His theories contributed to the foundations of cubism, fauvism, Maurice Denis was born 25 November 1870, in Granville, Manche, a coastal town in the Normandy region of France. Waters and coastlines would remain favorite subject throughout his career. The Denis family was affluent, and young Maurice attended both the École des Beaux-Arts and the Académie Julian, where he studied with the French figure painter and theorist Jules Joseph Lefebvre. At the Académie, he met painters and future Nabi members including Paul Sérusier, Pierre Bonnard, through Bonnard he also met the future Nabis Édouard Vuillard, Ker-Xavier Roussel, in 1890, they formed The Nabis. They chose Nabi—Hebrew for Prophet—because they understood they would be creating new forms of expression, the group would split apart by the end of the decade, and would influence the later work of both Bonnard and Vuillard, as well as non-Nabi painters like Henri Matisse. After Les Nabis, Denis went on to focus on religious subjects, in 1922, he published his collected historical and theoretical work as Nouvelles théories sur l’art moderne, sur l’art sacré—that is, New Theories of Modern and Sacred Art. The subjects of his works include landscapes and figure studies, particularly of mother. Denis was among the first artists to insist on the flatness of the picture plane—one of the starting points for modernism. In 1898, he produced a theory of creation that found the source for art in the character of the painter, That which creates a work of art is the power and the will of the artist. The Ateliers dArt Sacré were founded on 5 November 1919 after World War I by Denis, the Ateliers created art for churches, particularly those devastated by the recent war. Denis said that he was against academic art because it sacrificed emotion to convention and artifice, above all he wanted beauty, which was an attribute of divinity. Denis, a Catholic tertiary, married his first wife, Marthe Meurier and they had seven children, and she would pose for numerous Denis works. Following her death in 1919, Denis painted a chapel dedicated to her memory, two years later, he married again, to Elisabeth Graterolle, and fathered two more children. Politically, he was close to the monarchist Action Française movement, Denis died in Paris of injuries resulting from an automobile accident in November 1943. In 1980, the Maurice Denis Museum was opened in the home in the Parisian suburb of Saint-Germain-en-Laye. A major retrospective was mounted at the Musée Des Beaux Arts de Montréal in 2007, a similar exhibition took place in 1995 at the UKs Walker Art Gallery in Liverpool. Leçons de l’Italie, d’après son journal | Lessons from Italy, based on his Journal

10.
Adolphe Willette
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Adolphe Léon Willette was a French painter, illustrator, caricaturist, and lithographer, as well as an architect of the famous Moulin Rouge cabaret. Willette ran as a candidate in the 9th arrondisement of Paris for the September 1889 legislative elections. He studied for four years at the École des Beaux-Arts under Cabanel, whether comedy or tragedy, dainty triviality or political satire, his work is instinct with the profound sincerity of the artist. He set Pierrot upon a lofty pedestal among the heroes of France, and established Mimi Pinson, frail, lovable. Willette is at once the modern Watteau of the pencil, there is charm even in his thrilling apotheosis of the guillotine, and in the introduction into his caricatures of the figure of Death itself. The artist was a contributor to the French illustrated press under the pseudonyms Cemoi, Pierrot, Louison, Bebe, and Nox. He decorated several brasseries artistiques with wall-paintings, stained glass, &c. notably Le Chat noir and La Palette dor and his characteristically fantastic Parce Domine was shown in the Franco-British Exhibition in 1908. A remarkable collection of his works was exhibited in 1888 and his Valmy is in the Luxembourg, Paris. Www. lerire. com at www. lerire. com Www. assietteaubeurre. com at www. assietteaubeurre. com

11.
Woodcut
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Woodcut is a relief printing technique in printmaking. An artist carves an image into the surface of a block of wood—typically with gouges—leaving the printing parts level with the surface while removing the non-printing parts. Areas that the artist cuts away carry no ink, while characters or images at surface level carry the ink to produce the print, the block is cut along the wood grain. The surface is covered with ink by rolling over the surface with a roller, leaving ink upon the flat surface. Multiple colors can be printed by keying the paper to a frame around the woodblocks, single-leaf woodcut is a term for a woodcut presented as a single image or print, as opposed to a book illustration. Among these the best known are the 16th century Hieronymus Andreae, Hans Lützelburger and Jost de Negker, all of whom ran workshops, the formschneider in turn handed the block on to specialist printers. There were further specialists who made the blank blocks and this is why woodcuts are sometimes described by museums or books as designed by rather than by an artist, but most authorities do not use this distinction. The division of labour had the advantage that a trained artist could adapt to the medium relatively easily, there were various methods of transferring the artists drawn design onto the block for the cutter to follow. Either the drawing would be made directly onto the block, or a drawing on paper was glued to the block, either way, the artists drawing was destroyed during the cutting process. Other methods were used, including tracing, in both Europe and the Far East in the early 20th century, some artists began to do the whole process themselves. In Japan, this movement was called sōsaku-hanga, as opposed to shin-hanga, in the West, many artists used the easier technique of linocut instead. Compared to intaglio techniques like etching and engraving, only low pressure is required to print, as a relief method, it is only necessary to ink the block and bring it into firm and even contact with the paper or cloth to achieve an acceptable print. In Europe a variety of woods including boxwood and several nut and fruit woods like pear or cherry were commonly used, in Japan, there are three methods of printing to consider, Stamping, Used for many fabrics and most early European woodcuts. Used for European woodcuts and block-books later in the fifteenth century, also used for many Western woodcuts from about 1910 to the present. The block goes face up on a table, with the paper or fabric on top, the back is rubbed with a hard pad, a flat piece of wood, a burnisher, or a leather frotton. A traditional Japanese tool used for this is called a baren, later in Japan, complex wooden mechanisms were used to help hold the woodblock perfectly still and to apply proper pressure in the printing process. This was especially helpful once multiple colors were introduced and had to be applied with precision atop previous ink layers, printing in a press, presses only seem to have been used in Asia in relatively recent times. Printing-presses were used from about 1480 for European prints and block-books, simple weighted presses may have been used in Europe before the print-press, but firm evidence is lacking

12.
Pont-Aven School
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Pont-Aven School encompasses works of art influenced by Pont-Aven and its surroundings. Originally the term applied to works created in the colony at Pont-Aven which started to emerge in the 1850s. Many of the artists were inspired by the works of Paul Gauguin who spent extended periods in the area in the late 1880s and their work is frequently characterised by the bold use of pure colour and their Symbolist choice of subject matter. Pont-Aven is a commune of the Finistère département, in Brittany, France, from the 1850s painters began to frequent the village of Pont-Aven, wanting to spend their summers away from the city, on a low budget in a picturesque place not yet spoilt by tourism. Gauguin first worked in Pont-Aven in 1886, there, Gauguin, accompanied by Meijer de Haan, Charles Filiger and for a while by Sérusier, spent the winter of 1889/1890 and several months afterwards. The opening of the line from Paris to Quimper in 1862 encouraged tourism in Brittany. The first group of artists to arrive in Pont-Aven during the summer of 1866 consisted of American art students from Philadelphia including Robert Wylie, Charles Way, Earl Shinn and Howard Roberts. They were soon joined by three other Americans, Benjamin Champney, Frederick Bridgeman and Moses Wright, by two English painters, Lewis and Carraway, and by two Frenchmen. Over the next 15 years, the reputation of the colony spread far and wide, among the other foreigners to visit were Herman van den Anker from the Netherlands, Augustus Burke from Ireland and Paul Peel from Canada. The English illustrator Randolph Caldecott visited in 1880 and he illustrated Henry Blackburns Breton Folk, An Artistic Tour of Brittany, one of the most popular guide-books of the time. There were three hotels ready to accommodate visitors, the Hôtel de Voyageurs, the Hôtel du Lion dOr, the Pension Gloanec, where Gauguin and his circle lodged, was especially cheap. When Blackburn visited it offered demi-pension, i. e. board, breakfast and evening meal with cider thrown in, the artists were attracted by the beauty of the surrounding countryside and the low cost of living. Many of them were looking for a new point of departure, hoping to break away from the Academic style of the École des Beaux-Arts and from Impressionism which was beginning to decline. Brittany opened up new horizons with its language, traditional dress, fervant Catholic belief, an oral tradition, the two most innovative painters to arrive on the scene were Paul Gauguin and Émile Bernard. Gauguin had reached in Pont-Aven in July 1886 while Bernard came later in the summer, when the two met again two years later, they consolidated their relationship. After his first voyage to Tahiti in 1891, Gauguin returned to Pont-Aven for the last time in 1894,1866 Herman van den Anker, Dutch,1868 William Bouguereau, French,1868 Louis Cabat, French, c. A memoir by his son, Studio Vista, London 1965, Breton Folk, An Artistic Tour in Brittany. London, Sampson Low, Marston, Searle & Rivington, new Haven, Connecticut, Yale University Press, ISBN 0-300-09109-5

13.
Integrated Authority File
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The Integrated Authority File or GND is an international authority file for the organisation of personal names, subject headings and corporate bodies from catalogues. It is used mainly for documentation in libraries and increasingly also by archives, the GND is managed by the German National Library in cooperation with various regional library networks in German-speaking Europe and other partners. The GND falls under the Creative Commons Zero license, the GND specification provides a hierarchy of high-level entities and sub-classes, useful in library classification, and an approach to unambiguous identification of single elements. It also comprises an ontology intended for knowledge representation in the semantic web, available in the RDF format

14.
Netherlands Institute for Art History
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The Netherlands Institute for Art History or RKD is located in The Hague and is home to the largest art history center in the world. The center specializes in documentation, archives, and books on Western art from the late Middle Ages until modern times, all of this is open to the public, and much of it has been digitized and is available on their website. The main goal of the bureau is to collect, categorize, via the available databases, the visitor can gain insight into archival evidence on the lives of many artists of past centuries. The library owns approximately 450,000 titles, of which ca.150,000 are auction catalogs, there are ca.3,000 magazines, of which 600 are currently running subscriptions. Though most of the text is in Dutch, the record format includes a link to library entries and images of known works. The RKD also manages the Dutch version of the Art and Architecture Thesaurus, the original version is an initiative of the Getty Research Institute in Los Angeles, California. Their bequest formed the basis for both the art collection and the library, which is now housed in the Koninklijke Bibliotheek. Though not all of the holdings have been digitised, much of its metadata is accessible online. The website itself is available in both a Dutch and an English user interface, in the artist database RKDartists, each artist is assigned a record number. To reference an artist page directly, use the code listed at the bottom of the record, usually of the form, https, for example, the artist record number for Salvador Dalí is 19752, so his RKD artist page can be referenced. In the images database RKDimages, each artwork is assigned a record number, to reference an artwork page directly, use the code listed at the bottom of the record, usually of the form, https, //rkd. nl/en/explore/images/ followed by the artworks record number. For example, the record number for The Night Watch is 3063. The Art and Architecture Thesaurus also assigns a record for each term, rather, they are used in the databases and the databases can be searched for terms. For example, the painting called The Night Watch is a militia painting, the thesaurus is a set of general terms, but the RKD also contains a database for an alternate form of describing artworks, that today is mostly filled with biblical references. To see all images that depict Miriams dance, the associated iconclass code 71E1232 can be used as a search term. Official website Direct link to the databases The Dutch version of the Art and Architecture Thesaurus

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Virtual International Authority File
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The Virtual International Authority File is an international authority file. It is a joint project of national libraries and operated by the Online Computer Library Center. The project was initiated by the US Library of Congress, the German National Library, the National Library of France joined the project on October 5,2007. The project transitions to a service of the OCLC on April 4,2012, the aim is to link the national authority files to a single virtual authority file. In this file, identical records from the different data sets are linked together, a VIAF record receives a standard data number, contains the primary see and see also records from the original records, and refers to the original authority records. The data are available online and are available for research and data exchange. Reciprocal updating uses the Open Archives Initiative Protocol for Metadata Harvesting protocol, the file numbers are also being added to Wikipedia biographical articles and are incorporated into Wikidata. VIAFs clustering algorithm is run every month, as more data are added from participating libraries, clusters of authority records may coalesce or split, leading to some fluctuation in the VIAF identifier of certain authority records